Tidwell and Williams analyze the causal relationships in her interactions with Langston and other family members through the use of psychiatrist Murray Bowen's Family Systems Theory (FST). . . . The editors have grouped the 250 letters chronologically into four sections, each preceded by a brief contextual introduction" --
Does it matter when and where a poem was written? Or on what kind of paper? How do the author's ideas about inspiration or how a poem should be written precondition the moment of putting pen to paper? This monograph explores these questions in offering the first full-length study of Ted Hughes's poetic process. Hughes's extensive archives held in the UK and US form the basis of the book's unique exploration of his writing process. It analyses Hughes's techniques throughout his career, arguing that his self-conscious experimentation with the processes by which he wrote profoundly affected both the style and subject matter of his work. The book considers Hughes's changing ideas about how poetry 'ought' to be written, discussing how these affect his creative process. It presents a fresh exploration of Hughes's major collections across the span of his career to build a detailed illustration of how his writing methods altered. The book thus restores the materiality of paper and ink to Hughes's poems, reading their histories, the stories they tell of their composition, and of the intellectual and creative environments in which they were gestated, born and matured. In the process, it offers a template for new approaches in authorship studies, reframing one of the twentieth century's most iconic literary figures through the unseen histories of his creative process.
Does it matter when and where a poem was written? Or on what kind of paper? How do the author’s ideas about inspiration or how a poem should be written precondition the moment of putting pen to paper? This monograph explores these questions in offering the first full-length study of Ted Hughes’s poetic process. Hughes’s extensive archives held in the UK and US form the basis of the book’s unique exploration of his writing process. It analyses Hughes’s techniques throughout his career, arguing that his self-conscious experimentation with the processes by which he wrote profoundly affected both the style and subject matter of his work. The book considers Hughes’s changing ideas about how poetry ‘ought’ to be written, discussing how these affect his creative process. It presents a fresh exploration of Hughes’s major collections across the span of his career to build a detailed illustration of how his writing methods altered. The book thus restores the materiality of paper and ink to Hughes’s poems, reading their histories, the stories they tell of their composition, and of the intellectual and creative environments in which they were gestated, born and matured. In the process, it offers a template for new approaches in authorship studies, reframing one of the twentieth century’s most iconic literary figures through the unseen histories of his creative process.
Humor in recent American poetry has been largely dismissed or ignored by scholars, due in part to a staid reverence for the lyric. Laugh Lines: Humor, Genre, and Political Critique in Late Twentieth-Century American Poetry argues that humor is not a superficial feature of a small subset, but instead an integral feature in a great deal of American poetry written since the 1950s. Rather than viewing poetry as a lofty, serious genre, Carrie Conners asks readers to consider poetry alongside another art form that has burgeoned in America since the 1950s: stand-up comedy. Both art forms use wit and laughter to rethink the world and the words used to describe it. Humor’s disruptive nature makes it especially whetted for critique. Many comedians and humorous poets prove to be astute cultural critics. To that end, Laugh Lines focuses on poetry that wields humor to espouse sociopolitical critique. To show the range of recent American poetry that uses humor to articulate sociopolitical critique, Conners highlights the work of poets working in four distinct poetic genres: traditional, received forms, such as the sonnet; the epic; procedural poetry; and prose poetry. Marilyn Hacker, Harryette Mullen, Ed Dorn, and Russell Edson provide the main focus of the chapters, but each chapter compares those poets to others writing humorous political verse in the same genre, including Terrance Hayes and Anne Carson. This comparison highlights the pervasiveness of this trend in recent American poetry and reveals the particular ways the poets use conventions of genre to generate and even amplify their humor. Conners argues that the interplay between humor and genre creates special opportunities for political critique, as poetic forms and styles can invoke the very social constructs that the poets deride.
The Big 50: Chicago Cubs is an extensive and dynamic look at the 50 top moments and figures that make the Cubs the Cubs Longtime MLB scribe Carrie Muskat recounts the living history of the team. Learn about and revisit the remarkable stories, featuring greats like Ernie Banks, Ryne Sandberg, Ron Santo, Anthony Rizzo, and more. With dozens of interviews compiled over years of intimate access to the team, this is the perfect primer for new Cubs fans and an essential addition to a seasoned fan's collection. The Big 50 series take a deep dive into the fifty best figures and historical moments that make a team. Other Big 50 titles on Chicago sports include: The Big 50: Chicago Bears The Big 50: Chicago Blackhawks
Teen fans of The Devil Wears Prada will relish this inside scoop on high society fashion from bestselling authors Carrie Karasyov and Jill Kargman, star of the Bravo series Odd Mom Out. Meet Kira Parker, total teenage fashionista. At her summer internship with one of New York's preeminent fashion magazines, Kira's to-do list includes rounding up models, fetching high-price dry cleaning, and snagging invites to some of the hottest parties in town. When a prized position goes up for grabs, Kira finds herself pitted against Daphne Hughes, the magazine owner's daughter and girl with all the right connections. She's even dating Kira's crush. Daphne thinks she can get what she wants without lifting a diamond-adorned pinky, but Kira's about to give her a battle the catwalk will remember for summers to come.
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